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INTRODUCTION
When we apply string load on an instruments it starts to deflect. The surfaces, rib, belly and back, start
to deflect. When string load is at pitch there still remain areas that not are deflected. In some manner
most of the structure becomes stressed but not all surfaces necessarily must deflect by string load.
For a violin maker it is desirable to have information about how string load deflects the violin structure and particularly the condition of belly and back. The belly and back are the main surfaces that
become forced into motion acting on the air. The air then transmits these air waves we recognize as
sound when they hit our ears. The path from a simple string attack on a string to the sound we interpret
is complicated. There are a number of steps to make before we come to the dynamic state acting on the
air. A major problem to solve therefore is how to shape the arching to reach the result we strive to
attain.
Studying how the arching shapes of belly and back deflect has been done by violin makers from early
times. Bending and twisting the free plates by hand give some information about resistant but say
nothing about how the arch shape behave in the compound instrument.
Structural engineering deals with action forces and react able structure thus where action comes about
and structures that are able withstand forces. Mainly the foundation of a building is the react able
structure, it is stationary. What happens in between the structural members of a building is of second
importance. On a violin it is the other way around here the space between structural members, if there
are some, is the important structure. This structure must deflect/move in order to bring about dynamic
state playing the instrument. All applied forces stay in the violin structure itself. An optimal state arises first when applied dynamic forces from the action on the strings become transformed into vibrating
arching shape. To be able to control the dynamic process of the vibrating arching shapes we need acting structural members and reaction able structural members that surround deflecting/vibrating arch
shape/shapes.
No one can ever learn to control the vibrating process optimally without understanding any of the
technical conditions where action and reaction come about. What happens in between is the vibration
shape. My research of the violin arching shape structure has been orientated to find out where in the
arching shape structural members are hidden that bring about desired react able conditions. I found an
answer when I located arching shape conditions that bring about a stationary framework on the compound violin that takes reaction from deflecting arching shape driven by other structural members.
These members have the function of buckling columns, on the belly, while others are columns that
become bended, on the back.
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On earlier pages on this internet site I described what I had accomplished and find out about arching
shape [1] from a special point of view. When I checked the quality of the geometric outcome, visualized by a topographical map, with instruments of Guarneri del Gesu and Stradivarius I found considerable proportions of similarity that can be related to structural members. I found significant structural
members in the arching shape that bring about a framework that have react able state and mainly is a
stationary structure. The surrounding arching shapes may move and deflect in relation to this framework driven by other deflectable structural members. These deflectable structural members must be
optimized in a special manner; they must deform the structure of the arching shapes that surround the
framework. With such structural conditions aware it becomes possible to have good control over the
deflecting arching shape areas. The combined function of the framework and the acting structural
members predict the function of the instrument. Without knowledge of these qualities it becomes hard
to control any vital function of an instrument.
This report focuses and describes static conditions of the violin structure with and without string load
of a well defined arching shape structure. A separate report will describe how to make the special
structural shapes and how to optimize the function of the instrument. In order to simplify stress conditions from the beginning I positioned the sound post on the lengths axis. There are no F-holes and no
bass bar on the belly. Later on I describe normal conditions. Figure 1 show the condition with the central positioned sound post. In that state the right and left side have mirror image shapes. On the model
I extended the sound post on the outside so it could carry a string like the bridge does. In this condition
string load is applied.
Figure 1. The centrally placed sound post with an extended column on top.
Figure 1 show cords that become stressed like the corner lines of a tent when the sound post is positioned. We can recognize pyramid shapes that arise on both belly and back. In the report I explain
what these cords represent and why they are shown as a model.
I use expressions in this report to explain special quality. These are:
Straight Tangent Line (STL). A STL is a line on the arch surface in straight direction between two
points without any space beneath. I regard the wood structure under the STL as structural members
when it's given thickness and some width condition. Figure 1 shows four STLs on the belly, the cords
with small balls.
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Partial Stabilizing Framework (PSF). A PSF arise when STLs, thus the structural members, become
tensioned by the compressed sound post between belly and back. Figure 1 shows the PSF that arise on
the belly. The cords, the structural members, make a pyramidal shape. A corresponding condition arises on the back. Its like raising two tents at the same time with the rib structure in between. These
structural members divide the arch shape in sectors shapes that may deflect independently but not
without influencing each other. In this condition no stress arises on the arch shape. What we see on the
figure is a stationary structure.
Primary Driving Structure (PDS) are the structural members that become forced primary to deflect
due to the internal stiffness conditions of the wood structure. These structural members, columns, become the acting structural members in the violin structure in relation to the PSF. These structures are
located between points on which the strings primary act, the end blocks, and the location where reaction is given. Where these reacting structures are located will be explained.
Deflecting Structure (DS) is arching shape located between the structural members of the PSF and the
PDS
Controlling the function of the violin means controlling the function of the structural members
in the framework in the first place and finally the conditions on the arching shape.
This report explains the function of such shape conditions.
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Article Copyright 201209 Robert Zuger. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed
of this structural member quality becomes obvious. Compressing the violin structure must deflect these structural members equally. Since the lower bout is wider the bout bending stress and deflection
that occurs is somewhat different. This the violin maker can regulate by accurate thickness graduation
of the structural members, thus the shape of the bout area. This is no easy task. One must be aware the
quality in first place.
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Figure 5 is a print screen image of computed iso lines of half the arching shape showing one STL
(red) on each bout shape. The input data to achieve this result comes from the earlier described geometric concept on this internet site. The green line is at the 0,00mm level. I name this the base line.
The red iso line is at 4,00mm level. The 4,00 mm level marks the boundary shape on the arching that
has a geometric decided arching shape. The shape outside the 4,00mm level has inverse shape, concave.
In the following figures I show by holding a ruler on the arching surface how the arching shape changes from convex to concave.
Figure 6, the arching shape on the bout, the convex shape
Figure 7, the STL shape, demarcating convex from concave arching shape
Figure 8, the arching shape at the C-bout, the concave shape.
The ruler moves parallel in relation where the STL is found.
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truncated pyramid tops longer from each other. The end points of the corner lines, the STLs, are on
the outline shape of the rib. What happens is the same as raising a tent. The corner lines, the STLs,
become stressed and the framework arises. See also figure 1, a model of the PSF.
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Figure 12. STLs on an arching shape with low, 5 mm height render in lower stiffness
Figure 13. STLs on an arching shape with high, 25 mm height render in higher stiffness
2.7 Negative consequences of diverging STL conditions
It is reasonable to expect the PSF to have STLs of equal lengths and slope etcetera ending at the rib.
The compressed sound post brings about equal stress conditions on the STLs structural members in
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such state. If a single STL has diverging shape the conditions become interrupted. In order to give
some understanding of how such diverging condition affect the quality of the PSF I give a description
of similar conditions that arise sitting on a chair with unequal length on the legs.
When we sit down on a chair with four legs we expect them to carry our weight on an equal base.
When one leg is somewhat shorter the legs in a diagonal direction must carry more load. Three legs
can almost carry the complete weight of the person by moving the centre weight position. In that state
one leg gets no weight at all. Moving the centre weights position to the other side of the diagonal loaded legs we can bring about reverse condition. However, the two diagonal positioned legs always carry
load. What has all this to do with the PSF?
When one leg thus the STL has a diverging inclination, it cannot participate on equal basis when the
STLs become stressed by the expelling force of the squeezed sound post. If we have a diverging condition on both belly and back STL inclination we do not have any notion where this state affects the
PSF structural member and how the shape may deflect when string load occurs. We simply do not
know what PSF structural member conditions come about.
However, the wrong conditions will always come about to some extent. If the STLs structural members are not straight they will bring about deflection on both the convex and concave arching shapes
when they become stressed, see figure 14. Also wrong STLs structural members will get some stress.
When this happens the pointing direction of the STL may change direction and affect the conditions
on other sector shapes. As a result all other STLs structural members become to some extent affected
by wrong circumstance. The resulting stress conditions expected to be equal become different and the
violin maker is not able making sufficient corrections to make conditions better. Knowing what to
accomplish from the beginning is a must to do so.
Before we look at the deflection of the compound violin structure we must look at the deflection
of the belly and back length arc beam. This is where string load give its primacy resistance.
2.8 How the belly and back length arc shapes become structural columns
In all structural design the primary loaded structural members are given the strongest structural state.
When this state is loaded to a certain stress the shape they may start to deflect. The conditions to withstand load in that state can be dependent on another structural shape that participate. We first looked at
the beam in figure 2. Now we look at conditions with belly and back beams shown in figure 15. The
internal wood conditions have their main resistance orientated to withstand load in the length axis of
the violin structure. In that direction the wood bending resistance is 15-20 times stronger than the
cross wood bending resistance. This is familiar to all violin makers. Technically we talk about anisotropic conditions.
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Anisotropic: Properties of a material depend on the direction; for example, wood. In a piece of
wood, you can see lines going in one direction; this direction is referred to as "with the grain". The
wood is stronger with the grain than "against the grain". Strength is a property of the wood and
this property depends on the direction; thus it is anisotropic.
Now when string load slowly come about the structural columns of both the belly and back at a certain
stress state cannot withhold and they start deflecting. In figure 15 I show how I prefer the columns to
buckle and bend. I talk about preference since it is possible to let this occur differently. The end blocks
start moving inward and upward. Important is that string load deflecting the columns in such manner
that the end blocks movement remain parallel to the sound post.
If we succeed in bring about this movement the neck and fingerboard will not tilt. A tilting movement
causes the neck and fingerboard to rock. In a dynamic state it will vibrate.
The deflection of the columns of the belly and back come about by interaction. They share the load
acting on the end blocks but must deflect differently in order to bring about a parallel movement of the
end blocks. I show this with figure later on more specific.
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Small dissimilarity may influence deflection modes to arise correct. This complex system where stress
thus deflects the areas A and A: 1 will influence deflection on area B and B: 1 in the seesaw movement on the STL. B and B: 1 thus has influence in the deflecting process of the complete arching
shape and the stiffness conditions on these shapes are of importance for a perfect structural deflection
of the complete structure. These conditions the violin maker must learn to handle. Wrong balance on
the right and left sides may cause twisting of the complete structure and of course affect the dynamic
state and the modes that may arise. How to handle these problems will be described in another report.
In figure 17 I show some cross arc shapes I observed on the upper and lower bout shapes. We see the
STLs numbered 2. Perpendicular to the STLs we see the cross arc shapes number 3 and 4. When point
A and B on the lengths arc deflects outward they may do this in relation to the STLs with seesaw
movement. Arc shapes 3 and 4 have the same shape. With the support of the STL and the lengths arc
the deflection of these shapes becomes possible. Proportionally the upper and lower bout shapes have
equal structural qualities in many respects.
In the C-bout we see number 5 cross arc shapes that may have equal function when they deflect. On
the upper and lower bout we see cross shapes number 6 that may deflect equally by compression. Figure 4 shows some other equal arc shapes. Corresponding quality is found on the belly arch shape. The
STLs starts at the truncated pyramid shown by the dotted lines.
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inward. In order to have equal behavior on all four STLs the stress as it occurs in the PSF state, must
retain. What can go wrong is described earlier. Look again at figure 14. If the structural members in
the STLs not are straight they will deflect and affect the arching to deflect before any string load is
applied. Such deflecting conditions are negative.
Figure 18, Deflecting conditions along the STLs at the back plate.
4.3 Principle movement of the Driving Force (DF) on the end blocks and Deflecting Structure (DS)
Figure 19 illustrates what happens on a cross section on parallel location along the length axis almost
at the position of the number 6 cross shapes shown in figure 17. The red line represents winter annual
grown wood. The condition primary is equal the belly. Anisotropic wood quality give us the opportunity to look at the winter grown wood being a structural member with bigger internal bending
resistance. Figure 19 show the shape of such a beam. Where the beam intersects the STL reaction is
given and the deflection that occurs a downward pressure in the C-bout. The downward movement in
the C-bout, inwardly curving, is responsible for the downward force that widens the C-bout as we see
in figure 20, 21 and 22
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Figure 20 the deformation of the belly arch by forces on the end blocks
Figure 21 the deformation of the back arch by forces on the end blocks
When the bout arching shape starts bulging outwards the violin body becomes shorter while simultaneously as a result the C-bout arching is forces curving inwards and the structure widen. All this
happens with the sound post as the stationary structure together with the PSF with the STLs. The
complete violin structure with the stress that arises on the bout and C.-bout shapes functions like
springs that act on each other. An alternating motion arises which is shown in figure 22.
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The new numbers confirm the bending shown in figure 24. The compression by string load brings
about the bout shapes to bulges on both belly and back. In this respect there is no difference to the NH
observations. The difference consists in what I observe along the lengths axis in relation to the NH
representation. NH claims that the centre part is forced downward and the end blocks in some manner
upward. Contrary all explanations given by others I claim that the sound post retain at stationary position while all other shape may deflect. Figure 24 confirms this state based on the deflecting principle
shown in figure 15.
Figure 24. Measurement result from the National Physical Laboratory (UK)
observed from outside.
Now we look specifically at the deflection on the length arc shape that arises by different observational methods.
Conditions observed by the author.
The deflection shown comes from the information in figure 24. (based on NH measurement)
Red balls are the fix points (stationary) on the structure described in this report.
Black balls are deflecting points
Red lines is the deflecting shape (exaggerated).
Black lines show structural shape before string load occurs.
Figure 25. Structure deflection from string load observed by the author.
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17
The deflection that occurs is based on the principle shown in figure 26.
Figure 26. The person (one) is stationary, the end points move (two) different.
Conditions observed by Nigel Harris
Figure 27 shows deflection as it is measured by PhD N.Harris. NH observes both downward and upward deflection due to the observation position on non stationary location on the violin structure
when the instrument deflects. This observation gives a wrong picture of deflection.
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To be able to achieve such deflection one must hold the end blocks firm in a stationary position. Such
conditions we find in the investigation by A.Langhoff.
Condition observed by A.Langhoff, Mauro Facchini, Paolo Zanetta.
I looked at the TV holographic investigation by A. Langhoff [4]. A.L holds the end blocks fixed on a
stationary structure, figure 298. The end blocks must be held fixed. A downward movement comes
about by increasing string load. Of course nothing is wrong on the observation as the investigation has
been done. Whats wrong is the misunderstanding of what on the violin structure is stationary and
what moves. A.Ls observation is in correspondence with the conditions in figure 29, the stationary end
blocks. Such conditions never arise on a violin in playable state as an almost free structure.
Figure 29. The trees are stationary structures while the person moves (bridge/sound post).
A.Langhoff observe string stress acting on the end blocks as stationary trees with a down load
deformation on the instrument at the bridge/sound post. His research is based on this princeple
understanding how string load deflect the instrument.
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Neither N.Harris nor A.Langhoff has taken into account where the action and reaction occurs on the
violin as a free structure. N.Harris shows the conditions that are in between the figures 25 and 28 or 26
and 29. Not understanding the right conditions, both undertook their investigations already from the
very beginning from a wrong understanding that led to wrong outcome.
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We see three different conditions on the end points of the column, figure 32a
1. Top and bottom pinned = hold at location but the end points allows rotation, figure 32b.
2. Top and bottom fixed = no rotation at fix points allowed which bring about other buckling.
3. Top fixed and bottom pinned = No rotation at top but rotation on bottom.
Another condition comes about when the top of the column also is forces in side way direction. Such
condition arises on the violin structure, figure 33. the column AD at the belly shape.
Each one of the columns in figure 32a before any load is applied is completely straight. In order to
make them to deflect sideways by X, they must be loaded different to do so depending on their end
point conditions. What we see is that the fixed-fixed condition withstands much higher load then
the two others (do not allow rotation on the end points). The pinned-pinned is the easiest condition
for buckling (do allow rotation at the end points).
There are "fulcrum" conditions at the column end points. Figure 32b show such condition that allows
rotation at the centre point (axis). The fixed condition prevents rotation. Close to the end point the
column first must bend before it starts buckling. We see that different weights are needed to let the
columns buckling side way equally by X. The differences depend on the end point conditions whether
they are pinned (function like a fulcrum) or fixed or a combination of both.
We find similar conditions on the violin structure. However, what is very important on the violin
structure is that we must not construct the column to withstand buckling. We must find critical buckling condition that make the column buckling. Any buckling of the column than affects the lateral arch
shape to deflect. What we seek for are conditions where arching areas participate in bulging of the
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bout shape within the STL sector. The utmost condition arise when the complete arch shape deflect
and become stress in some manner. It is not possible to make equally stress conditions all over the area
in a bout shape but it is important to have deflection on as large areas as possible. Any change in increasing or decreasing compression load on the end blocks than allow the aching shape in the STL
sector to become more stress and change shape.
The highest buckling stress arises where the column bent most. When the column starts to buckle we
have reached the state were PDS starts, the Primary Driving Structure. At this very critical state also
the lateral arch shape starts to deflect. The buckling resistant in relation to the cross bending resistant
is about 15-20 times higher. This depends on the anisotropic structure of the wood.
No two pieces will ever have the same conditions. To bring DS conditions about we are limited to the
max load that string stress can bring about at string pitch. So, the critical resistant quality, the arch
shape and the thickness, are the qualities we must bring in a state where PDS and DS become active.
We are limited to string stress of about 36-40 Kp depending on string quality. About 34-38 Kp act as
compression on the end blocks, the load P2, like the column load in figure 32a. At the same time a
horizontal force come about by about 8-10 Kp, P1. We see these circumstances in figure 33.
Only halve the instrument structure is shown but the circumstances are almost equal on the other side.
The only differences that come about depend on the string angle on the bridge to the end block. Different vector forces P1 and P2 than come about.
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Chord 1 and Chord 4 with ARC 1 and ARC 2. The load applied is SL (String Load). SL is divided
into two vector forces, a horizontal and a vertical, P1 and P2.
When SL becomes active when strings are brought into pitch condition the structure starts to deflect.
Finally we find a new trapezoid ABC1D1. The upper base CD is forced to a new location C1D1 while
the base AB still remain in its stationary state. The chord length conditions changes by the P1 and P2
loads.
The end point of CHORD1 at C mainly rotates side way with B as the rotating centre point. This side
way movement mainly comes about by the P1 load. A new location C1 is found. The length of the
CHORD 1 mainly remain unchanged, so CHORD 2 = CHORD 1. On the violin structure the arc
must bend over the stationary base at B the sound post end. On the violin this causes bending all along
ARC1.
The bending conditions depend on wood thickness thus resistance. The largest bending that come
about comes from the moment P1*L1 (B) and decreases to zero at C. This is the reason why to thickness graduate of the back arc different from the centre to the end blocks in order to bring about equal
bending stress condition along the length arc.
The conditions on Chord 3 become quite different. Point D is forced side way to D1, which is equal to
the side way movement from C to C1 caused by P1. To let this side way movement of CD happen
parallel to AB the load P2 must compress the CHORD 4 length into a shorter CHORD 3. However,
the lengths of ARC2 remain unchanged and must bent to fit the length on CHORD 3. The load SL,
thus P1 together with P2, bring about the new chord length and the ARC2 is forced to change shape.
There arise buckling on ARC 2 in some way like columns load conditions in figure 32a. Most likely
pinned condition at A, as I will explain, and fixed at C, fixed to the end block.
While the ARC1 and ARC2 from the beginning have equal arc shape and length now the ARC 1 have
slightly different shape caused by relocation from C to C1, while ASRC2 now have a completely new
shape caused by P1 and P2. These deformations arise by interaction of the arcs BC and AD which
means that the allowance of bending of the back ARC1 highly is involved what happens with ARC2
and vise verse. Certainly a complex interaction to control especially when we also must control what
happens with the other part of the instrument under the base bellow AB.
If the ARC 2 is complete rigid no side way movement ever will arise. The deformation, buckling of
ARC2 in that state only comes about by load P2. When such state comes about a rotation of the upper
block must be brought about at the point C. When this happens the neck and finger board become
tilted. In a dynamic state where the deformation condition changes all the time the neck starts to rock.
The deformation described above from no string load into string pitch load thus can bring about very
special conditions that must be controlled. Any increasing of SL increases P1 and P2. This is what
happens when we attack one or two strings in the playing condition. The ARC1 becomes more bended
and the ARC 2 bents even more. These conditions bring about a dynamic state in the length arc shapes
acting on the lateral arch shapes.
What we must look for is bringing about such critical conditions that affect bout arching shapes demarcated by the STLs and the outline to the end block. The complete arch structures are brought into a
state of a spring. The more sensitive this spring becomes the better dynamical state and vibration
modes will come about.
I return to this in a special report that describes improvement of the dynamic state.
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Figure 35. Deflection on length arc columns at the treble bridge foot
Depending on the stiffness conditions of each of these shapes they will influence each other. Also here
we can talk about the spring function of the bout columns and the bending at the mid field. The
shapes will go back to an earlier state when the dynamics in the bowing state stops. If the buckling
stiffness on columns are different they will bent different and the stress conditions on the lateral bout
shapes also become different. In such state we must accept that they then do not share the applied
string stress or increased string stress on equal base. The weakest becomes more active. The mid field
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bending also has influence on the stress that may come about since the moment from the bridge feet to
the fulcrums is unequal.
Buckling circumstances of the bout columns become very difficult to fore say on free plates as well as
the stress on the lateral arching shapes.
9.2 Conditions at the bass bar bridge foot.
The length arc shape at the bass bar bridge foot has only one stationary fix point, the fulcrum in front
of the upper F-hole eyes, figure 36.
Looking at the bass bar bridge foot we observe different circumstances. First to observe is that we
have only one fix structure, the fulcrum at the upper F-hole eye. On the column between the lower end
block and the fulcrum, the fix structure, the bridge feet resist the column to bent outward by downward string load.
Studying figure 24 closely we observe an outward buckling caused by the compressing loads on the
end blocks. In spite of the bridge foot load the compressing load on the end block has the overhand
and the column bent outward. A more or less rigid bass bar brings about other buckling conditions.
The shape and rigidness of the bass bar have large influence on the buckling of the column between
the lower block and the fulcrum at the upper F-hole. These conditions will affect the conditions in the
dynamic state. I return to this in another report.
Figure 36. Deflection on the length arc shape at the bass bar bridge foot.
9.3 Bulging of the bout shapes.
The buckling on the bout columns in high degree is dependent on the rigidness of the lateral arching
shapes that must allow such deflection. First when they do we can talk about bulging of the bout
shape. The bulging area is demarcated by the STLs and the instrument outline to the upper respectively the lower end block.
While columns in buildings never may come into critical buckling conditions I expect the violin columns to bent and the bout shapes to bulge cause by the compression at the forces on the end blocks.
Specific conditions where increasing string load from bowing bring about fluctuating buckling and
bulging are related to critical buckling and bulging conditions.
The interaction between the deflecting belly and back must be trimmed to participate at special conditions. Also the interaction between the deflecting upper bout and lower bout areas, especially the belly,
must be optimized. This the violin makers can handle by thickness graduating the bout area shapes and
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27
C-bout area shapes as well as the bending resistance of the back that foremost function like a spring.
Interaction is the answer to bring about optimal condition.
How to do I explain in another report that describes the dynamic of the bout shape conditions.
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Figure 37. Deflecting areas on the belly by equal load on both bridge foot.
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29
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Figure 39. Length arch shape deflection by changing sound post length.
Depending on the stiffness of the belly and back the deflection X and Y become different and affect
the arc shapes to bend inward different. These circumstances has to do with interaction.
SUMMARY
This report has given a detailed explanation how special structural arching shape based on a simple
geometric construction may deflect by applied string load. I have recognized special structural quality
as structural members that have impact on the deflection of the structure. The geometric construction
is simple to retain in memory without making notes.
Ones found and understood the importance of the structural members of the PSF structure with STLs
it becomes much easier to shape and thickness graduate the arch shape. This is what early violin makers learned making their arch shapes, making precise PSF with STLs. They still can be found on instruments after 300 years. It also explains how the bulging deformation on the bouts on the length axis
comes about. This deflection comes mainly from of the length arch shaped column, a structural member.
Deflections in the first place do not come about by the downward load of the bridge on the belly but
by the compressing and vertical force on the end blocks that bent the complete structure. How the
structure deflects is described in relation to structural members.
Figure 40 show the simple geometric layout that brings about described qualities. The location and
shape of these lines are explained earlier on this internet site [1]. The layout is the foundation to construct templates. Accurate modeling with these templates will bring about perfect PSF shape with
STLs.
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References
[1] Zuger.R, Structural design, http://zuger.se
[2] About structural engineering. http://en.wikipedia.org/wiki/Structural_engineering
[3] Harris.N, http://www.violin.uk.com, research report "On arching shape and violin tone"
[4] A.Langhoff, Mauro Facchini, Paolo Zanetta, Static deformation measurements on violins by optical TV-holography, Catgut Acoust. Soc. J. Vol.2, No.6 (SeriesII) November 1994
[5] Harris N, On arching shape and violin tone, Part 1
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